The present invention relates to a sound editing system, and more specifically, to an electronic sound editing system in which multi-channel audio tape recorders are used to transfer prerecorded sound effects located on either a sound "library" or other tape to selected locations on a master tape to create a composite sound track for use in association with a video display, such as a television program.
The prior method of editing a sound track and creating sound effects required an editor to run the dialogue track, recoreded initially during the filming of the work picture, with the producer in a projection room. An idea of the nature and quality of desired effects were obtained at this time. Also, decisions were made as to which lines of dialogue were to be replaced or altered in one manner or another. If video tape was being used, the editor and the producer would view the program normally using a one inch wide video tape copy made from the original two inch video master, on a video monitor. The video tape would also contain the dialogue.
Editing dialogue was achieved in the following manner. After viewing the dialogue track and work picture with the producer, the editor, with the use of a Moviola, would analyze the dialogue track for:
1. Abrupt changes in sounds which must be trailed off;
2. Holes or gaps in the background sounds which must be filled; and
3. Abrupt changes in the characteristic of a sound due to production circumstances or for effect, such as the filtering or toning known as "futzing" to simulate a telephone conversation.
The editor, using the code numbers that appear along the edge of the film and the assistant editors code book orders magnetic film reprints from a 1/4 inch production tape which he needs for track extension and fills.
A variety of techniques are used for trailing off cuts, such as "feathering" the oxide on the film with a razor blade, or making a long diagonal splice into leader, or wiping the film with solvent. In those cases were abrupt changes in dialogue present problems for the person in charge of dialogue, characteristics, the sound editor will break the dialogue track apart and build a second or third dialogue unit to be later superimposed on one another.
Holes or gaps in the dialogue track were filled by locating a matching piece of background noise in the original track and inserting it in place of the gap. If the gaps or holes are large or very repetitive, the editor may elect to make a closed loop of magnetic film having the appropriate sound on it to be run repeatedly with the entire sequence in dubbing for background sound.
The sound editor attends the recording session in which the dialogue replacement sounds are made and has the actor read the original dialogue in synchronization with the picture. After the recording session for recording the new dialogue was completed the editor would build a dialogue unit using the new dialogue lines. When an automated dialogue replacement unit (ADR) is used the editor will delete the defective lines in the original dialogue track. During the dubbing session the new lines of dialogue, located on a separate reel, appear in place of the original dialogue that has been deleted.
Adding sound effects to a sound track is also required. Much of the sound effects selection process is dependent upon the creativity of the sound editor. Basically, however, sound effects are added:
1. When the sound pickup on the production effect is inadequate;
2. When sound effects are required to bridge cuts or fill gaps or holes in the same manner as the dialogue track treatment; or
3. When sound effects are needed to establish or enhance the feeling of time, location, physical conditions or mood.
There were three normal sources for obtaining the sound effects to be used along with the dialogue:
1. Production effects, in which case the editor orders scene reprints on magnetic file as required.
2. Stock effects from a "library," which are individually stored on thousands of small rolls of magnetic film and listed by number and type in a catalog. The editor must select the effects from the catalog he feels will work best, then take all of the small rolls to his editing room and run each one separately with the picture and cut dialogue track on a moviola to determine which of the sound effects works best. After selecting the correct effect the editor must send the selected rolls of sound recordings to the Transfer Deparment to have magnetic film copies made for compiling. These original rolls must be returned to the library room. This was a very time consuming process which must be repeated for each "library" sound effect desired.
3. Original sound effects recording may be necessary if an effect is required for which there is no effective prerecorded source. In such a case, the sound editor will actually make and record the desired sound. Normally, these sounds are made by the editor himself, and are performed as the editor watches a projection of the picture so that the sounds will be synchronous with the action without further editing. The creation of synchronous footsteps in the most obvious example of the kind of effect which the editor would want to record himself.
With the exception of the original sound effects recording, it was common for the added sound effects to require further editing in order for them to precisely match the visual display.
After the sound editor had obtained all of the sound effects needed for a particular visual sequence, the sound editor attempted to compile the sound effects into categories of sound in a manner that would make the Re-recording Effects Mixer's job as simple as possible. For example, common types of sound would be put on the same reel, or backgrounds would be built separately from impact effects, or if several different effects occurred in rapid succession, they would be separated into several tracks by type.
Included in the development, or "building," of the sound effect tracks was the assembling of constant sound into loops if they were to run for considerable lengths.
A critical portion of the "building" process is that the sound editor must mentally put himself in the Re-Recording Effects Mixer's place and determine if the tracks are "built" in the most practical manner for the mixer.
As the dialogue and sound effects reels were being "built," the sound editor makes out a cue sheet which records the elements contained in each reel and at what footage the individual sounds begin and end. In addition, instructional notations, such as where tracks should be faded, crossed with another effect, or "futzed" were recorded.
The above description makes it obvious that when the editor had finished editing the show he had accumulated numerous additional reels of magnetic film containing dialogue, effects and background loops for each original reel of picture and cut dialogue track. All of these additional reels required long hours to assemble, and when completed required as many magnetic film reproducers at the re-recording studio as there were reels. By the present invention the laborious and time consuming function of screening and compiling numerous individual sound effects is eliminated or greatly reduced.
A multi-channeled recorder has on it a tape recording contaning numerous sound effects. The location of each sound effect, indicated by digital address code and channel, are recorded in a log book for reference. The tape constitutes a "library" of sound effects and replaces the numerous individual reels of sound effects previously used. The sound recorded on the "library" are electronically transferred to a selected track of a second or master multichanneled audio recorder which contains the original dialogue and musical composition on separate tracks or channels. The "library" sound effects may be switched on and off at preselected locations to precisely transfer the sound effects from the library to a selected channel of the master multi-channeled audio recorder so that the transferred sound effect will be synchronization with the visuals.
Before sound effects are recorded on the master tape the outputs of the library tape are fed to a remote channel assignment and control board where the sound effects may be equalized or otherwise modified before final recording of the sound effect on the final selected channel of the master tape.
The master audio recording and video tapes are imprinted with identical SMPTE time code for determining and synchronizing the relative position of the video and audio portions of the display.
Where one sound effect or dialogue of different characterization rapidly follows another in time a "track splitter" is utilized for transmitting selected portions of an individual track or channel of the master audio recorder to a selected input of the remote channel and control board, in order to permit the "mixer" to preset the necessary adjustments to the sound effect of dialogue as desired.
It is an object of the present invention to provide a sound editing system which is simple and efficient to operate.
It is another object of the present invention to provide a sound editing system which does not require compilation of a plurality of individuaal recording rolls.
It is still another object of the present invention to provide a sound editing system which permits rapid access to a plurality of sound effects.
It is yet another object of the present invention to provide a sound editing system which greatly reduces the amount of time required to provide sound effects and editing.
These and other objects of the present invention will be more evident from the following detailed description of the invention in association with the accompanying drawings.